Beauty Deeper Than Skin S
by Rhea's Teleplays
Summary: A starved woman is found alive, breaking a serial killer's pattern. Nick’s investigation reveals she and the others were obese when kidnapped, and a famous actor may be behind it. But proving it and stopping the killer will require cunning teamwork.
1. Teaser

CSI: CRIME SCENE INVESTIGATION

"Beauty Deeper Than Skin"

TEASER

FADE IN:

INT. AUTOPSY A - NIGHT

On a metal tray lined with a sterile blue cloth, Doc **ROBBINS** lays out autopsy tools as if he were setting a table for a czar. On his desk he has a small TV that's airing the news about the 'Red Dress Killer.'

I/E. CSI VEHICLE

A drizzle falls steady over the thirsty desert. With **NICK** behind the wheel, the vehicle bounces up a rutted road running along a gully. He passes an ambulance leaving. Ahead is a police car with flashing lights and the coroner's wagon. He passes them, parking at the end.

EXT. GARBAGE DUMP - NIGHT

He gets out with kit in hand and flicks up the hood of his rain poncho. In the gully assistant M.E. **DAVID** is crouched next to a dead female half buried under trash.

She has been starved to death and her ash colored skin is stretched tight over her bones. She wears a red silk dress and a string of Mother of Pearls.

Her dead, sunken eyes stare at the overcast sky, but it's too dark to tell what color they are. Nick pulls out his camera and starts snapping photographs. The rain steadily grows heavier.

NICK  
We gotta move her to the wagon, David. We're  
losing evidence.

David waves the officer over to help them clear off the trash.

DAVID  
(to officer)  
Help me get her in the body bag. Grab her  
ankles.

The officer hesitates.

NICK  
Come on, man, we're losing evidence!

The officer grabs her ankles and he and David put her in the nearby body bag. David zips it up and easily picks her up and carries her to the wagon.

He lays her on the gurney and jogs around to the driver's side, hopping in. David drives away, leaving Nick to his work.

INT. AUTOPSY A - NIGHT

Robbins is adjusting the mic overhead. He doesn't look back when David wheels in the gurney. On the TV a talk show has come on and the host is laughing with fictitious actor and America's sweetheart, Jonathan Massie.

ROBBINS  
That took a while.

DAVID  
It's raining cats and dogs out there. I'm going to  
get scrubbed and changed.

ROBBINS  
Any I.D.?

David heads toward the back

DAVID  
No. It's another starvation victim.

Robbins shakes his head.

ROBBINS  
I wish they'd find this guy and throw the book at  
him.

David disappears around the corner.

DAVID  
Or drop him in an oubliette for a taste of his  
own medicine.

Robbins smiles. He walks around the table, reaching for the zipper on the bag. It moves and he freezes for a moment. He slowly pulls the zipper back but all he finds is an emaciated woman in a red dress and pearls, with her sunken eyes closed.

Robbins easily picks her up and frowns a little. He carries her around the table and lays her down. Under the surgical light her skin looks like a mummy's -- grey-brown and parched.

He lays a hand on her arm. He turns, reaching for the liver thermometer, but stops. He turns back, staring at her now open eyes. They are a stunning tawny color. He leans over her. His breath catches when her eyes slowly move and focus on him -- she isn't dead?

Robbins hobbles over to his desk, yanks his stethoscope up, and he puts the eartips in as he hurries back. He finds her eyes have moved again, staring at something outside the light.

As Robbins leans in to place the diaphragm against her chest, her eyes slowly drift back to him. He forgets to breathe when he hears her very faint breathing and slow, drawn out heartbeat. He knows a huge mistake when he sees one.

David comes back into the room.

DAVID (CONT'D)  
Do you want me to wash--

He stops walking and talking when he sees Robbins listening to her chest. This is not a normal autopsy procedure.

DAVID (CONT'D)  
What's wrong?

Robbins yanks the eartips out. He flings the stethoscope on the surgical tray, scattering equipment across the floor. The woman has begun shaking lightly.

ROBBINS  
Call for an ambulance. She's alive.

Robbins heads for a cupboard.

DAVID  
What? No. I--

ROBBINS  
CALL FOR AN AMBULANCE, DAVID!

David runs over to the phone and dials. Robbins rips blankets out of the cupboard and hurries back. He starts piling blankets on her. David hangs up, spinning around.

DAVID  
They'll be here in ten minutes. Oh God! I  
couldn't hear anything, Doctor Robbins. I--

ROBBINS  
Go upstairs. Get every blanket, coat, and pillow  
you can find. She's going into shock.

David runs out of the room. Robbins leans over to look in her eyes.

ROBBINS (CONT'D)  
David couldn't hear your breathing or heart in  
the rain. I can imagine waking up in the  
morgue must be terrifying, but we'll take care of  
you. We'll find who did this to you.

She didn't speak or respond, just slowly blink.

SMASH CUT:

OPENING CREDITS.

FADE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

EXT. LAS VEGAS (STOCK)

To establish.

INT. SUNRISE HOSPITAL - HALL - NIGHT

Nick steps off the elevator and follows the INTENSIVE CARE UNIT signs. He turns into the room.

INT. SUNRISE HOSPITAL - ICU - NIGHT

Seven rooms in a circle are centered around the nurse's station, giving them a full view of every patient. Two of the rooms are ICU Containment rooms. Doctor **IAN** Cooper and the four nurses in protective clothing are in the one that Nick's victim is in.

Ian spots Nick and motions him to wait. He steps into a clean area and it takes him a few minutes to strip down to his scrubs and come out.

NICK  
What's wrong with her? What is she contagious with?

IAN  
Scabies.

NICK  
Dang it. I need to talk to her. Hook me up with  
some scrubs.

IAN  
Nick, you can't talk to her yet.

NICK  
Come on, Ian. She's a serial killer's seventh  
victim, and the first one alive.

Ian shook his head.

IAN  
You don't understand, Nick. She has a fungus  
under her esophagus. She won't talk, it hurts  
too much.

NICK  
She could write the answers.

He shakes his head.

IAN  
She's suffering atrophy. I'm surprised she's  
even able to keep her eyes open as weak as  
she is. But I did send her blood work and  
clothes to the lab.

NICK  
Thanks. When will she be out of contamination?

IAN  
Two to three days. As severe as the infestation  
is on her, it's going to take several treatments  
of Permethrin before the CDC will clear her.

NICK  
I can't wait that long. Could I at least get a DNA  
sample and fingerprints?

Ian doesn't agree right away. He looks at the room, then slowly nods.

IAN  
Yes, but be gentle. Even the lightest touch  
makes her hurt and she's lost most of her  
fingernails.

NICK  
I will be. Thanks.

INT. SUNRISE HOSPITAL - ICU 4 - NIGHT

Nick comes into the room wearing protective gear. He's carrying a swab with a plastic cap, inkpad, and ten card. He walks up to the bed, smiling at the victim even though he's wearing a mask.

The victim is awake, but stares at a picture on the wall.

NICK  
I don't know your name. I'm sorry.

The woman's eyes slowly focus on him.

NICK (CONT'D)  
My name's Nick Stokes. I'm a criminalist. I'm  
going to collect some DNA and your fingerprints  
to see if we can't find out who you are.

She slowly opens her mouth.

NICK (CONT'D)  
Now how did you know I was going to take  
DNA from there?

He swipes the inside of her cheek. She closes her mouth, watching him cap it.

NICK (CONT'D)  
Now the fingerprints. It won't hurt, I promise.

Nick picks up one of her fingers. He notices marks and tracks across her skin where scabies have tunneled. Nick turns his attention back to his work.

INT. CSI BUILDING - LAYOUT ROOM - NIGHT

Nick is in the smallest layout room in the building. The light table takes up most of it. There is a whiteboard on one end; a lightboard covers the back wall, and a phone. Nick's laptop sits on the table amid case files and scattered photographs.

More photographs hang on the wall lightboards. Nick stands back against the table, staring at the photographs of the recent victim. **CATHERINE** comes in, standing next to him. They stare together for a few minutes.

CATHERINE  
She's the latest one?

Nick nods.

CATHERINE (CONT'D)  
Heard she's still alive?

NICK  
If you call being in excruciating pain, starving,  
and so weak that the most you can do is blink  
alive, then yes.

Catherine frowns at him, but he doesn't notice. She turns, finds the recent file, and reads through it.

CATHERINE  
Anything different with this one? Other than  
she's alive.

NICK  
Unlike the other victims who died with an  
assortment of expensive foods in their  
stomach, she only had bread, water, and  
potatoes. She was infected with scabies like  
the one before her, but there have been no  
reports from the hospitals of anyone coming in  
to be treated. Unfortunately the killer isn't that  
stupid. She also was envenomed from a  
Phoneutria fera.

CATHERINE  
What the heck is that?

NICK  
Brazilian Wandering Spider and they aren't  
native to Nevada or the U.S.

CATHERINE  
Was it injected?

Nick shrugs.

NICK  
I couldn't tell a needle mark from a sore,  
abrasion or lesion.

Catherine sets the file aside.

CATHERINE  
She won't tell you about the kidnapper?

NICK  
She can't talk and she doesn't have the  
strength to write. I get my first good lead -- a  
live victim -- and I can't find the guy because  
he hurt her so bad she can't talk or write.

The two look back when the door opens. WENDY steps in with a smile and holding some papers.

WENDY  
Prints and DNA from your Jane Doe gave her a  
name. Natalie Emma Greer.

NICK  
She has a record?

WENDY  
Not exactly.

Wendy pulls out a piece of paper, handing it to him.

NICK  
She consulted for the Missoula, Montana  
Police Department for six years and left a year ago.

He looks at her.

NICK (CONT'D)  
Did you get a current address?

WENDY  
I have something better.

She holds up a missing person's report, and then hands him the remaining papers.

WENDY (CONT'D)  
Her husband filed a missing persons report five  
months ago, and it's missing the photo, but has  
a current address.

NICK  
Thanks, Wendy.

She leaves. Nick starts reading the report.

CATHERINE  
Did you know that Henry can read lips? He  
said he picked it up his first year in college  
when he was stuck at the back of lecture halls.  
He's almost as good as Catherine was.

NICK  
(distracted)  
Okay.

CATHERINE  
Nick.

He looks up at her.

CATHERINE (CONT'D)  
Henry could help you talk to your victim.

Nick looks at her.

NICK  
How?

CATHERINE  
(scolding)  
You didn't hear anything I just said, did you?  
Take Henry. He can help you.

NICK  
How?

She leaves him confused.

EXT. SUBURBIA LAS VEGAS - DAY

The streets are clean and trim. Nothing about Sin City reflects in this neighborhood.

I/E. CSI VEHICLE - DAY

Nick navigates around children playing in the street. In the passenger seat Henry watches in silence. He's not nervous, just fascinated by this side of the job. One he's never actually been a part of. Nick pulls up in front of a house, and then turns to Henry.

NICK  
You say nothing. Just observe, then we're  
going to the hospital. And maybe you can tell  
me why Catherine said to bring you.

HENRY  
Oh. I could tell you now.

NICK  
Okay. Hit me.

Henry smiles.

HENRY  
But then, Catherine said you had to figure it  
out, didn't she?

Nick's eyes narrow.

NICK  
Wait in the car.

HENRY  
Okay.

Nick gets out and starts up the drive. He stops and turns. Henry is watching something else. Nick walks back and opens the passenger door, getting his attention.

NICK  
Have you ever been to an interview before?

HENRY  
Not outside of the lab, no.

Nick waves him to follow. Henry happily follows.

EXT. GREER HOME - DAY

The two get up and walk up to the door. Nick taps the doorbell. **TRISTAN**, a boy in his early teens opens the door. He has several spider bites on his arms and wears a Chilean Rose Tarantula on his head.

HENRY  
That's a beautiful Chilean Rose.

Nick glances at him. He was supposed to stay quiet.

TRISTAN  
Thanks. My mom's not here.

NICK  
Is your father home?

TRISTAN  
Yeah, but he doesn't know anything about spiders.

NICK  
You think we're here to talk about spiders?

TRISTAN  
When we lived in Missoula the police came all  
the time to talk to her about spiders. Sometimes  
bugs, but usually spiders. She knew a lot about  
spiders. She's not coming back though.

NICK  
She's not?

He shook his head.

**JOSEPH** Greer comes around the corner wiping yellow goo off a knife.

JOSEPH  
Can I help you?

NICK  
I'm Nick Stokes, I'm a criminalist with the Las  
Vegas crime lab. Are you Joseph Greer?

JOSEPH  
Yes.

NICK  
Do you have a few moments?

Joseph hands the knife to Tristan.

JOSEPH  
Feed the rest of the tarantulas, but stay away  
from Olivia and Horton. They've been in bad  
moods all week.

Joseph waits until Tristan has disappeared into the house to step onto the porch and close the door.

JOSEPH (CONT'D)  
My wife is dead, isn't she?

NICK  
Why do you think that?

JOSEPH  
She worked with the police in Missoula and  
had to tell families their loved one has been  
found, dead, somewhere. I know what it  
looks like.

NICK  
We can't discuss the case yet. On the night  
your wife, Natalie, disappeared, did you two  
have an argument?

JOSEPH  
No. Why?

NICK  
Your report said she went with her friend Dana  
to a movie premiere. Did they have an argument?

JOSEPH  
No. Dana won tickets from a radio station and  
they were ecstatic to go.

NICK  
And Natalie won the backstage pass at the premiere?

JOSEPH  
Yes.

NICK  
Why did you wait for a day to report Natalie missing?

JOSEPH  
I thought she had stayed the night at Dana's  
until Dana called looking for her. I didn't know  
she was missing until then.

NICK  
When she consulted for the Missoula police,  
did any of the people she helped convict  
threatened her?

JOSEPH  
Haven't people you've helped convict threaten you?

Nick nods -- there have been several instances.

NICK  
Did anyone in particular stand out?

JOSEPH  
Right before we moved she mentioned she  
was having trouble with some guy named  
John. He was following her everywhere, but  
she said the police took care of it for her. Then  
I was offered a job in Las Vegas and we  
moved. There might have been others, but  
Natalie rarely told me about work.

Nick pulls a composite of Natalie out -- the artist has added a little weight. Nick shows it to Joseph.

NICK  
Does this look like your wife?

Without hesitation Joseph shakes his head.

NICK (CONT'D)  
No?

JOSEPH  
No. Is that who you found?

Nick glances at the composition.

NICK  
Thank you for your time.

Nick turns to go.

HENRY  
Mister Greer, do you have a recent  
photograph of your wife?

Nick turns back. Henry disobeying makes him a little angry, but he isn't going to stop him. Yet.

JOSEPH  
Yeah.

HENRY  
May I look at it?

JOSEPH  
Sure. Wait here.

Joseph goes back inside.

NICK  
(hushed)  
What are you doing?

HENRY  
(hushed)  
I have a hunch. Can I see if it's right?

NICK  
What hunch?

HENRY  
I think the composite might be off. It was  
something I found in the tissue sample you  
gave me.

NICK  
What?

HENRY  
Well, there's parts of the body that store fat  
longer than others. The fat in the tissue was  
pretty massive. I think your composite might be  
off. Alot off.

Jospeh comes back and holds out a photograph. Nick takes it and compares it to the composite. It's apparent right away Nick's composite is off by a few hundred pounds. But to his trained eye, he can see features in the two that make them the same person.

NICK  
May I borrow this?

JOSEPH  
I guess.

NICK  
Thank you. We'll let you know more when we can.

Joseph wants to argue, but he doesn't. He turns and goes back inside, softly shutting the door. Nick and Henry return to the Denali.

I/E. CSI VEHICLE - DAY

He pulls back onto the street. Henry doesn't speak, just watches the town.

NICK  
Thanks Henry. That helped the case a lot.

HENRY  
Sure.

NICK  
Are you training to be a CSI now?

Henry laughs.

HENRY  
I like my lab better. No.

Nick smiles.

NICK  
Now come on. Spill it. Why did Catherine say  
you could help me talk to my victim?

HENRY  
I can read lips.

Nick laughs, amused by what had been an obvious clue the whole time.

NICK  
You, Henry, never fail to surprise me.

HENRY  
Thanks!

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

EXT. SUNRISE HOSPITAL

To establish

INT. SUNRISE HOSPITAL - ICU 4 - DAY

Nick and Henry walk in. Natalie has been propped up on her side. She looks as dead as when Nick first saw her in the garbage dump. Only the steady flow of oxygen and soft beeping of the heart monitor prove she's alive.

The TV is on and a love scene from a Jonathan Massie movie is playing.

Henry stands where she can see him when she opens her eyes, Nick moves around to the other side. He sits at the end of the railing, laying his hand on her arm.

NICK  
Natalie.

She opens her eyes, staring at Henry. Nick leans to the side and her eyes move to look at him.

NICK (CONT'D)  
Hey there, girl. Glad to see you've stuck  
around for another day.

She doesn't respond because she can't.

NICK (CONT'D)  
This is Henry. He works in our lab and one of  
his many talents is that he can read lips. All  
you have to do is mouth like you were talking.  
Do you feel up to that?

Natalie looks at Henry. He translates while she mouths.

HENRY  
Nick is smarter than the average bear.

Both men chuckle.

HENRY (CONT'D)  
Yeah. He has his moments, Natalie.

NICK  
Tell us about the night you were kidnapped.

Natalie mouths again.

HENRY  
I don't remember a lot of things, even my  
children's names. I can only remember shards.

NICK  
Then let's start with the shards.

She mouths what she remembers.

HENRY  
I remember...

**MONTAGE**

**(NOTE: Natalie's memory of events is foggy with very few clear and vivid faces. In her memories, she's not as large as she was in real life.)**

**A) Natalie and Dana are at the premiere laughing.**

**B) The backstage party. Natalie is self conscious as she passes slim, beautiful people.**

**C) A man walks up to her, his face is either blacked out or too fuzzy to identify. He talks to her**

**D) She wakes up in a cell. The women in the other cells are scared and crying. She's dressed in a dirty cotton smock. Near the door is a dog bowl of water.**

**E) She hears the door open and watches a figure walk in. It's the man from the party, but he still has no face. He drops a few potatoes and piece of bread in a bowl. She rushes at him when he opens the door. He's prepared and punches her to bring her down. He sets the bowl of food next to the water. He says something incoherent and leaves.**

**F) When she sees him again, she has lost nearly two hundred pounds and is weak. He enters the cell across from hers with a red dress, necklace, and a bucket of water. The woman in the cell, starved to the brink of death, doesn't fight him taking her smock off, giving her a sponge bath, and putting the dress and pearls on. He gets her on her feet and they leave.**

**BACK TO SCENE**

NICK  
He never brought her back?

Natalie mouths an answer.

HENRY  
No. When he put the red dress and necklace  
on a woman, she never came back.

NICK  
Did he bring in a new woman when he took  
one out?

HENRY  
Yes.

NICK  
I'll have an artist come in and get a description.

She starts mouthing again.

HENRY  
You don't understand. His face is black.

NICK  
He was African-American?

HENRY  
No. Every time I think about him or try to see  
his face, it's just empty and black.

NICK  
What is the last thing you remember?

**INT. UNDERGROUND PRISON (RE-ENACTMENT)**

**Natalie lies on a thin mat, hovering between life and death. Her dirty smock doesn't hide how wasted her body is. The FACELESS MAN walks in carrying a red dress and pearls, and a bucket.**

**He enters her cell and she is at his mercy as he undresses her, gives her a sponge bath, and puts on the red dress and pearls. He picks her up, setting her on her feet.**

**FACELESS MAN  
You look beautiful, Natalie. See how much  
better you feel without all that weight?**

**She doesn't answer. He is a most patient killer, letting her take her time as she walks to the door on shaking legs. They leave the prison and he shuts the door behind him, locking it. **

**INT. UNDERGROUND PRISON - DINING ROOM (RE-ENACTMENT)**

**He walks her over to a chair and sets her in it. He carefully fixes her hair. Even this close his face has no details.**

**FACELESS MAN  
You've done such a good job, Natalie. Now  
we'll have a feast. Every food you love will  
be here. You can eat as much as you want.**

**Natalie looks at the cages, focusing on the spiders. The faceless man crouches next to her and places his hand high up on the inside of her thigh.**

**FACELESS MAN (CONT'D)  
You like the spiders? They creep most  
women out.**

**Natalie stares without speaking.**

**FACELESS MAN (CONT'D)  
I've gotten quite a collection; most of them  
are several years old. They wouldn't have  
lived that long in the wild, but here they  
can. Just like my beautiful women.**

**He reaches up and pets her face. She slowly drops her head away, trying to avoid his touch. In the distance, someone knocks on a door.**

**FACELESS MAN (CONT'D)  
That's dinner. Wait here, beautiful. I'll bring  
it down.**

**He leaves her. Her eyes move to the spiders. Particularly the Brazilian Wandering Spider. Gripping the table she very slowly pulls herself to her feet. Taking one shaky step at a time she walks over to the spider's cage. **

**She hears talking in the distance, it almost sounds like an argument. She reaches the cage and with great effort she pulls off the lid. The spider senses movement and goes on guard. She reaches her hand in. At first the spider makes false charges, but she moves her hand toward it forcing it to strike.**

**It jumps back, leaving two small bites with trickles of blood. She moves her hand toward it again and it strikes again. She keeps moving her hand, enticing it to bite her.**

**FACELESS MAN (O.S.) (CONT'D)  
WHAT ARE YOU DOING!?**

**Natalie is yanked away with the spider still attached to her hand. She lands on the floor as everything fades to bright white light, and then to black.**

**BACK TO SCENE**

NICK  
Why did you want the spider to bite you?

HENRY  
I hoped it would paralyze me so I'd look dead.  
Then I'd have a fifty-fifty chance he'd dump my  
body where someone would find me and help  
me. And someone did.

Nick pats her arm.

NICK  
You did a good job tonight, Natalie. We're  
going to go now, so get some rest. I'll stop by  
later to check on you.

He stands and turns as she starts mouthing again. Henry stays behind to listen to her. He smiles, tells her something, and then follows Nick. They two meet up at the elevator.

HENRY  
She asked for Joseph.

NICK  
We can't let him know--

HENRY  
I told her he can't know until we catch this guy.  
She's okay with it.

The door opens and they get on.

NICK  
You did a good job today, Henry. If you ever  
get bored of the lab, let me know. I'll put in a  
recommendation.

He just smiles.

INT. CSI BUILDING - LAYOUT ROOM - NIGHT

A newspaper sits on the edge of the table. The headlines cover various topics, including actor Jonathan Massie's recent humanitarian work. On the same page is a small box about the 'Red Dress Killer.'

A laptop sits at the end of the light table. Across the table are spread the files and evidence from the past six starvation cases along with Natalie's.

Despite a firm Fire Marshal warning affixed to it, seven red silk dresses with pearl necklaces hang from the fire sprinkler. The dresses are short, spaghetti strap dresses, size zero, with nothing especially outstanding about them. The pearls are Mother of Pearl strung with pure silver.

Nick sits on a stool, staring at them. The case has clearly got him befuddled. He glances at the door when it opens to let Catherine in. He has a stack of printouts that he's putting his glasses on to read as he sits down on a stool.

CATHERINE  
I contacted the Missoula police department,  
and I hadn't really expected to reach anyone at  
this hour...

Nick is confused.

CATHERINE  
...but the police chief was in the office -- he  
was hiding from his wife, he said. Anyway, I  
asked if he could send us case files of any  
case Natalie helped get a conviction, and  
whose first name was John. He'll--

NICK  
Am I in trouble?

CATHERINE  
No. Why?

NICK  
Why are you working my case?

CATHERINE  
You don't have much to go on, so I took  
unilateral action as your supervisor and  
assigned myself to your case. You're still lead,  
but I figured two heads were better than one. Is  
that okay?

Nick smiles.

NICK  
As long as I'm not in trouble, always. So the  
Missoula police chief hiding from his wife  
said...

CATHERINE  
He said he'd ask the detective she worked with  
and send us copies. He also said he remembers  
something about her having a stalker, but he  
wasn't involved with the case, this detectives  
was. He'd send that file too.

NICK  
That's something at least. I'm hitting walls so far.

CATHERINE  
Who in the area has purchased a Brazilian  
Wandering Spider?

NICK  
Natalie and a professor at the university. The  
professor checks out, no priors, he and his  
spider have been in Argentina for the last four  
months. And his name is Carl. Maybe the killer  
bought it on the black market.

CATHERINE  
She said there were other exotic pets. Did you  
check that?

NICK  
Yeah, and about half of Las Vegas owns an  
exotic pet.

CATHERINE  
Ian called before I came in. He said Saint  
Mercy sent out a CDC report after a man was  
dropped off and died from an allergic reaction  
to Phoneutria fera venom.

NICK  
When?

CATHERINE  
Tonight, and two days after Natalie was found.  
I'm pretty sure that the spider couldn't have  
survived in the desert, so my hunch is this  
John Doe lived or worked where she was held.

NICK  
Did he have any identification?

CATHERINE  
He was naked, so no, and no one has come to  
claim the body.

Catherine leans on the table.

NICK  
Damn. Did I tell you the hunch Henry talked to  
me about after meeting with Joe?

CATHERINE  
No. What hunch? I didn't even know he went  
with you to that interview.

NICK  
I was conserving gas. So at the house he  
asked for a picture of Natalie Greer, but the  
photographs were different. She used to weigh  
a lot more.

Nick pulls out the photograph of Natalie and the composite. He sets them both out in front of Catherine.

NICK (CONT'D)  
So, what if there wasn't enough weight added  
to the other victim's composites?

CATHERINE  
You believe this man is targeting obese  
women?

NICK  
Natalie said he told her that she should feel  
better after losing all the weight. Maybe this  
guy thinks he's helping these women by forcing  
them to lose weight.

CATHERINE  
It would explain why they were given water but  
starved. So why kill them?

NICK  
Now that got me too, but I think it's in _how_ he's  
killing them. After months of starvation, he's  
giving them a huge meal high in calories and  
proteins.

CATHERINE  
This has been your case up until now, so I  
don't understand why that's killing them. What  
has Doctor Robbins or Ray told you about it?

NICK  
Neither one of them would just tell me.

Nick fishes out a thick, heavy medical book from under the folders. Amused by the fact Nick has gone low-tech for an answer makes Catherine smile.

NICK (CONT'D)  
But they both gave me access to their medical  
book collection at their houses.

Nick flips back a couple pages. He turns the pages as he skims and delivers the information on them.

NICK (CONT'D)  
There was a starvation experiment, conducted  
at the University of Minnesota during World  
War II -- it's now called the Minnesota  
Starvation Experiment. They anticipated the  
need to help people and prisoners that were  
starved during the occupation. Unfortunately,  
the war ended before the experiment and most  
Allied troops didn't get the information about  
how to safely acclimate these people to richer  
foods. So when they first entered cities or  
prison camps where people had been starved,  
they tried to be nice by giving them their  
K-rations and candy bars. The starving  
people's systems were acclimated to their  
sparse diet of potatoes, bread, and broth, and  
the sudden high calorie and high protein foods  
caused violent stomach cramping, convulsions,  
and death due to shock. So...

Nick looks up to add more, but stops when he saw Catherine's smile.

NICK (CONT'D)  
What?

CATHERINE  
You're reading a book?

NICK  
Yeah. What's wrong with that?

CATHERINE  
Go on.

NICK  
What's wrong with me reading a book?

CATHERINE  
Nothing. Continue.

Nick shoots her a frown.

NICK  
Okay, so either this guy knows that these  
meals will kill the women or the guy thinks he's  
being nice and doesn't know what he's doing.

CATHERINE  
You forgot the third option.

NICK  
Which is?

CATHERINE  
Perhaps at first he believed he was helping  
them, but then he got a taste of murder and  
now it's intentional.

NICK  
Maybe. So maybe I should have Archie add  
some more weight to these composites and  
re-circulate them.

CATHERINE  
It can't hurt at this point.

Catherine gets up.

CATHERINE (CONT'D)  
Get addresses on all the pet owners named  
John and I'll work on half the list. And be sure  
to pay close attention when you interview,  
Nick, particularly to their hands. The killer is  
likely to have scabies too.

Catherine leaves, and Nick makes a phone call.

FADE OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

EXT. LAS VEGAS (STOCK)

To establish.

INT. CASINO - NIGHT

A private poker table is roped off and who's playing draws a crowd: two poker pros, a millionaire, and three actors including the sweetheart of Hollywood, **JONATHAN** Massie. At the moment only Jonathan, another actor, and one of the pros are still in the game.

In person Jonathan Massie is a tall, fit man. He wears a long sleeve shirt and a jacket with the collar up. His skin has slight imperfections, but under the dim light of the table, it's hard to tell why.

Behind Jonathan the **CASINO MANAGER **approaches Jonathan's manager, Gabriel **GAVESTON**. Nick trails behind the casino manager as he watches the game.

CASINO MANAGER  
This is Nick Stokes of the Las Vegas Crime Lab.  
He asked to speak to you and Jonathan Massie.

GAVESTON  
Is there something wrong?

NICK  
I just need a few minutes to speak with  
Jonathan Massie.

At the table Jonathan raises his bet, pushing the last of his chips in.

GAVESTON  
About what?

Nick turns his attention to Gaveston.

NICK  
I'm investigating the disappearance of a woman that he may know something about. And I need to ask him about his pets.

GAVESTON  
His pets?

Someone calls and the players reveal their hands. Jonathan has lost, but he's a good sport about it.

JONATHAN  
Good game. Thank you.

GAVESTON  
He's busy now. You'll have to schedule an appointment.

Jonathan starts walking toward them, pausing to sign autographs. He notices Nick, but he's focused on his fans. Nick is in no hurry either.

NICK  
This will only take a few minutes.

Jonathan reaches them.

JONATHAN  
Police?

He motions at Nick's badge.

NICK  
I'm Nick Stokes, from the Crime Lab. I was  
hoping you could help me by answering a  
few questions.

GAVESTON  
Jon, you should wait for Lehman to be here.  
Don't talk to him without him here.

JONATHAN  
It's just a few questions. No harm in that.

NICK  
The manager said we could use the VIP lounge.

He notices a group of teenagers come up behind Jonathan. One of them is a stocky **TEENAGE GIRL** who is giddy to be in the presence of her idol.

TEENAGE GIRL  
Excuse me, Mister Massie. Can you sign these for us?

He turns and takes the stocky teenager girl's book and pen first. He smiles at her, almost flirts. Jonathan closes it and hands it back. Nick notices something is wrong with Jonathan's hands.

**CSI POV**

**Signs of scabie tunnels run across his skin.**

**BACK TO SCENE**

Nick doesn't make the connection yet.

Jonathan moves quickly through the other autographs and then the men walk toward the VIP lounge.

NICK  
Did you attend the premiere and backstage  
party of the Sweetheart Diaries?

JONATHAN  
It was my movie, of course. Is this about that  
missing woman again? I answered questions  
about her already.

Jonathan stops to sign more autographs. Nick's attention is again drawn to Jonathan's hands and the marks on them.

**INT. SUNRISE HOSPITAL - ICU 4 - NIGHT (RE-ENACTMENT)**

**Finished swabbing the inside of Natalie's cheek, Nick caps the plastic cover. He smiles at her.**

**NICK  
Now the fingerprints. It won't hurt, I  
promise.**

**Nick pulls out an inkpad and ten card. He picks up one of her fingers and notices marks and tracks across her skin -- signs of scabie tunnels.**

**BACK TO SCENE**

He focuses on Jonathan, looking for more clues.

Jonathan stops to talk to a large woman, almost flirting with her. The three finally make it to the VIP lounge and Nick is the last to sit down at a table with the men.

NICK (CONT'D)  
I noticed you have scabies. Must be why you  
haven't put out any films for a while.

He motions to Jonathan's hands.

JONATHAN  
Yeah, it is. I was on a shoot in England and  
apparently there was an outbreak in this little  
hamlet we were in. Been fighting them ever  
since.

NICK  
When was that?

JONATHAN  
Not long ago.

NICK  
How long ago?

JONATHAN  
I don't recall.

NICK  
You don't recall when you filmed a movie in  
England? Must have been a really bad movie.

Jonathan smiles. He's about to shut Nick down -- he thinks.

JONATHAN  
Perhaps I need to call my lawyer down here.

The CSI shrugs.

NICK  
If you want. We're just chatting here, no  
charges, no threats.

The two stare at each other for a moment.

NICK  
Where did you get treated for your scabies,  
Mister Massie?

JONATHAN  
Didn't you have some questions about the  
premiere party?

Nick pulls the photograph of Natalie from his vest pocket.

NICK  
Do you recognize her?

JONATHAN  
No.

NICK  
Are you sure? Look closer.

Jonathan takes the photograph. Nick watches him, watches where he places his fingers on it. The actor hands it back and Nick is careful not to touch where he did. He slides it back in his pocket.

JONATHAN  
Sorry. I don't know her.

NICK  
I have a co-worker that follows your life like  
some obsessed fan. I bet you get that a lot,  
don't you?

JONATHAN  
Sometimes. Are you an obsessed fan? Maybe  
using your badge to get close to your hero?

NICK  
You're not my hero by a long shot. I don't care  
for your films.

Jonathan leans on the table, looking Nick directly in the eye. Nick doesn't blink, doesn't show any emotion. He knows what Jonathan really is, and no mask of a kind humanitarian is going to keep Nick from going after him.

JONATHAN  
To each their own.

NICK  
I agree. So she was telling me you haven't  
really had a steady girlfriend, since, well... Ever.

JONATHAN  
What does that have to do with this?

NICK  
Nice guy like you, never able to keep a girl...  
Maybe you just don't really like the type of girls  
you're dating. Maybe you like your girls robust  
and squeezable. I noticed you were flirting with  
two out there, one that, by the way, is  
underage. Just an FYI

JONATHAN  
I was being nice.

NICK  
So you said. I bet liking that type of woman  
wouldn't go so well with your public, seeing  
how Hollywood frowns on anyone much larger  
than a size four.

JONATHAN  
I show a little respect and kindness and you  
treat me like I'm a jerk? They are people too.  
True, losing the weight would be healthier for  
them, but until society realizes they are addicts  
just like some junkie on heroin, and take  
extreme action to help them, they will continue  
to have problems.

NICK  
What kind of extreme measures do you think  
should be taken?

Jonathan shakes his head.

JONATHAN  
You are taking this out of context again.

NICK  
Does extreme measures mean forcing them to  
have surgery or starving them to near death?

JONATHAN  
Are you accusing me of something?

NICK  
I was just trying to define what your concept of  
extreme measures is.

JONATHAN  
I think I've become uncomfortable with these  
questions. Next time we speak, it will be with  
my lawyer present.

Nick stands.

NICK  
I have just one more question, if you'll indulge  
me. It's about your pets.

JONATHAN  
My pets?

NICK  
Yeah. I noticed you've licensed a few exotic  
pets -- a chimpanzee and a couple cockatiels.

JONATHAN  
I've had them for several years, and it was  
required while I lived here.

NICK  
Mind if I stopped by and saw them?

JONATHAN  
Yes. I do. Good night, Mister Stokes.

NICK  
Good night.

Nick turns and walks away

INT. CSI BUILDING - A/V LAB - NIGHT

While the computer is running fingerprints, Nick is reading through printouts of properties. Catherine walks up behind him, reading over his shoulder.

CATHERINE  
Do you really think this actor is our guy?

NICK  
I'd bet money on it. I'm seeing if there are any  
priors on his prints before I move on his past properties.

CATHERINE  
We don't have enough to get a warrant for his  
current address?

NICK  
Nope. The judge said to call him when I can,  
and I quote, put a smoking gun in America's  
most beloved actor's hand, and then he'll issue  
a warrant because he refuses to be known as  
the man that slandered the most humanitarian  
person this decade on a few bugs and suspicion.  
We can't link the DNA of scabbies that were on  
Natalie without searching his property for the source.

CATHERINE  
Which we can't do without a warrant.

NICK  
Exactly.

CATHERINE  
I showed a picture of Saint Mercy's John Doe  
to Natalie. She said he looks familiar, but she  
can't recall where she's seen him. His DNA  
and prints didn't pull up anything, no trace, and  
aside from the spider venom, there was  
nothing unusual in autopsy or his tox.

Nick shakes his head.

NICK  
This guy's an actor. He can't really have been  
this careful!

CATHERINE  
You forget he's also a serial killer. They are  
notorious for having above average I.Q.s

The computer beeps and pulls up a record for Jonathan Massie. This gets their undivided attention.

CATHERINE (CONT'D)  
_He's_ Natalie's stalker? Why wouldn't Joseph  
tell us that?

NICK  
I doubt she ever told him who it really was. It  
sounded like she was very careful to keep her  
family and work lives separated.

CATHERINE  
I can relate to that. Are these all of his past properties?

Catherine picks up the printouts.

NICK  
Yeah, and he's moved around a lot since 1992.  
My suspicion is that's when he started killing.

**GREG** stops in the door holding a sequined dress in a plastic bag.

CATHERINE  
Cross dressing again?

Greg flashes him a smile.

GREG  
Ha-ha. You have some visitors, Nick.

NICK  
Who?

GREG  
I don't know. The officer in reception asked me  
to get you, it's kinda busy up there.

NICK  
Thanks.

Greg hurries off with his evidence. Nick stands and gathers his case file together.

CATHERINE  
I'll tell the judge about the stalking charge and  
see if that's enough to get a warrant.

NICK  
Maybe try explaining scabies again, too.

INT. CSI BUILDING - RECEPTION

Nick slows to a stop inside reception, stunned by what he's seeing.

There are at least a dozen people talking at once to **LVPD OFFICER **at the reception desk. He is doing his best to keep them calm and quiet them down. He spots Nick and points right at him.

LVPD OFFICER  
(loud)  
This is CSI Nick Stokes. He's the one that sent  
out the composites; he's the one you need to  
talk to.

All eyes turn to Nick -- this must be what a rabbit feels like before a pack of wolves pounces on it. In a flurry of voices and movement, the people surround Nick.

They start waiving newspaper clippings and photographs at him, demanding information. Some are crying. Most are angry. The commotion is nothing short of white noise.

Nick manages to snag a clipping and photograph from one of them. His face tells his horror -- the composite in the news paper and the photograph are nearly identical.

He looks up at the people. His hunch on the composites was dead on, and these people grieving over the lost loved one they recognized are the proof.

EXT. SoUTH CAROLINA PROPERTY - NIGHT

On a property in South Carolina, police officers are exhuming graves. Only starved, decaying corpses of dogs lay on tarps. The sick twist is that some wear expensive leather collars with personalized tags.

INT. CSI - INTERVIEW ROOM A - NIGHT

Nick sits with **MR. PRICE** and **MRS. PRICE**, an older couple. He has a notepad but is also recording the interview.

A printout of a composite sits next to a photograph of a woman. She's excessively overweight in the photograph, more than even the photo, but the similarities are close enough.

NICK  
Tell me about the day Melissa disappeared.

MR. PRICE  
It was about a year ago.

MRS. PRICE  
She stopped by on her way to a benefit dinner  
at the convention center. She'd won the tickets  
at work.

NICK  
Did she seem okay? Anything out of the ordinary?

MRS. PRICE  
No. Her favorite actor was going to be there.  
She was excited to go.

Nick's eyes drift to stare at them. He's heard a very similar comment before.

NICK  
And this actor... Who was he or she?

MRS. PRICE  
(smiling)  
Jonathan Massie. She'd been a fan of his since  
she was a teenager.

Nick doesn't smile. He notes this on his notepad.

Mr. PRICE  
Who did this to our little girl? Who hurt her?

He knows, but he delivers the company line.

NICK  
I'm sorry. I can't discuss an ongoing investigation.

EXT. KENTUCKY PROPERTY - DAY

In Lexington, Kentucky, five graves have been found, and a sixth is being dug up. Next to the five graves are the remains of starved, decaying chimpanzees.

From the sixth they recover the bodies of starved, decaying woman. The **KENTUCKY OFFICER** on scene covers his mouth, trying to collect himself before he makes a call on his radio.

KENTUCKY OFFICER  
Officer 1041 to dispatch.

DISPATCHER  
Go ahead.

KENTUCKY OFFICER  
Connect me to that investigator in Nevada. We  
found something.

INT. CSI - INTERVIEW ROOM A - DAY

**HIEDI** Vasquez and **TOM** Joaquin sit with Nick in the lobby. The officer at the reception desk is the only other person. Tom holds a composite and photograph of a large Latino woman and they are very close match.

Nick is about halfway through his notepad now, and the recorder sits on the floor between them.

NICK  
She's your mother?

The two nod.

NICK (CONT'D)  
You didn't file a missing persons report for her. Why?

TOM  
We thought she went back to Mexico, back to  
our father. We told her not to go, but she  
always went when he called her. He'd beat her  
up and she'd come back to America.

NICK  
He called her before she disappeared?

TOM  
A week before.

HIEDI  
But she didn't talk about going back this time.  
She met this man when she was at lunch a few  
weeks before and they had become friends.

NICK  
They were dating?

HIEDI  
No. Just friends she said. He told her not to go  
back to him.

NICK  
What was her friend's name?

HIEDI  
Jonathan.

Nick almost closes his eyes.

NICK  
Jonathan Massie?

TOM  
Yeah. That was his name. How did you know that?

NICK  
(flat)  
He's a very friendly person.

EXT. PARIS TEXAS RANCH - DAY

The ranch is in the middle of nowhere, with miles and miles of open grassland, a couple streams, and several gullies.

In a gully near the back of the property stands **SHERIFF LOPEZ**, watching a crew of two officers, a coroner, and three cadets carefully digging up a body.

In two graves next to them lay the remains of two starved women in red dresses and pearl necklaces. Officer Lopez radios in.

SHERIFF LOPEZ  
Lopez to dispatch.

DISPATCHER  
Go ahead.

SHERIFF LOPEZ  
Cathy, get that investigator on the line, the one  
in Vegas. Once you do that call William and  
have him get some aerials of this gulch. Then  
call Joyce, tell her drop whatever she's eating,  
and pull up every missing persons we've got on  
any woman over two hundred pounds. She  
probably should send a bulletin to the other  
stations and ask for theirs too. Doubt this guy  
just hit near here.

DISPATCHER  
How many are we talking about, Raymond?

Officer Lopez turns. Behind him, dozens of cadets, state and county officers, and several civilians are digging up graves.

SHERIFF LOPEZ  
We're already at fifteen in this gully. Ted  
stopped by a minute ago and said his team has  
identified four graves in the gully north of us.

DISPATCHER  
Jesus! Do you need more people?

He looks in the direction of the main house. It's a small dot on the horizon below him. There's a backhoe digging at something behind the house.

SHERIFF LOPEZ  
Wouldn't hurt.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

EXT. LAS VEGAS (STOCK)

To establish.

INT. CSI BUILDING - MAIN LAYOUT ROOM - DAY

Aerial photographs of seven properties are spread across the light table -- including the South Carolina, Kentucky, and Texas properties. They all show people working in the area, and the graves are marked.

The largest concentration of marked graves is on the ranch in Texas. Next to the open holes in the ground -- made evident by the angle of light showing three-dimensional details -- there are blue tarps with bodies.

The red dresses help to easily identify the bodies from workers or the ground. The graves have been numbered. Riley holds a stack of papers she's reading from. Catherine is using a red wax pencil to write on the photographs.

RILEY  
Number seventeen. Emily Grant. Missing since  
August 14, 1994.

Catherine starts writing. She pauses when Nick walks in. The two watch him sit down on a stool and stare at the floor. She finishes writing.

CATHERINE  
Rough interviews?

He nods.

CATHERINE (CONT'D)  
Do you need a break?

Nick shakes his head.

NICK  
Can we arrest America's _sweetheart_ actor yet?  
He was around or had contact with the six  
deceased and Natalie.

CATHERINE  
I showed the judge your preliminary reports  
and how many bodies we found on his past  
properties that were identified with DNA. He is  
writing warrants as we speak.

Nick gets up and joins her at the table.

NICK  
These are all graves?

RILEY  
Yes. The largest number of human remains  
has been found on the property he owned in  
Texas. You're hunch paid off, Nick.

NICK  
(quiet)  
Not soon enough.

**BRASS** walks to the door with two pieces of paper.

BRASS  
Good news or great news?

NICK  
Great news first.

Brass holds up one paper.

BRASS  
This little paper says we get to arrest Jonathan Massie.

He holds up the other.

BRASS (CONT'D)  
This little paper says we get to search his  
entire property. Who wants to join me?

ALL THREE  
Me.

They drop what they're doing and follow him out.

EXT. MASSIE VINEYARD - DAY

The drive up to the main house is bordered with healthy grape vines infested with workers tending them. Sitting in the seat behind Catherine, Nick watches them. The workers are trying not to notice the parade of police cars, unmarked CSI Denali, CDC vans, and ambulances.

**GREG** and Riley have joined them -- a rare occasion to have the entire graveyard CSI in one vehicle. The processions stops in front of the house as Jonathan and his lawyer, **LEHMAN**, come out.

Everyone gets out, but Brass and the front officer are the only ones to approach the two at first.

BRASS  
Jonathan Massie?

JONATHAN  
Yes.

BRASS  
You are under arrest for murder. We also have  
a warrant to search your home and property for  
women you are being holding against their will.

Lehman holds his hand out for the warrants, which Brass hands over. He reads them and his face tells Jonathan this is not good.

LEHMAN  
You have to go with them, and they are  
allowed to search the property.

The CSI and two more officers approach.

JONATHAN  
I didn't do anything wrong!

He finds Nick among the people.

JONATHAN  
(to Nick)  
You're behind this. What lies did you tell them?  
That I was nice to someone? Is that a crime?

Nick doesn't answer. Jonathan is handcuffed and led away, followed by Lehman. Brass and several officers go inside to clear the house.

CATHERINE  
Nick, you and Greg take the perimeter. We'll  
start on the house. I'll let you know if we find anything.

Nick nods. He and Greg head to the back of the house.

EXT. VINEYARD TANK FARM - DAY

Nick and Greg walk out of the vineyard and are confronted by an old stone building with a padlocked door.

GREG  
I'll go back and radio for a lock--

Nick draws his side arm and shoots off the lock.

GREG (CONT'D)  
Or we could just shoot it. Never mind it's  
evidence... Fingerprints and all.

Nick doesn't comment. He pulls off the lock and pushes the door open with his gun. A breath of cool air greets them, but they can't see inside the darkness.

Nick sets his kit down by the door and pulls his Maglite off his belt. With light over gun, he moves slowly into the building. Greg follows close behind.

INT. VINEYARD TANK FARM - DAY

Greg flicks the light switch just inside the door, revealing a room full of wooden barrels from floor to ceiling. They walk through the building, Nick probing the dark areas with his flashlight and gun ready. Near the back, and almost hidden, he spots a door.

He slips between the barrels, to get to it. The door is locked with a chain lock, a sturdy eye and hook, a dead bolt with the dial on this side, and a New York lock Ð this door is meant to keep things in.

Nick holsters his gun and pulls a glove from a pocket. He unlocks the door and swings it open, prepared for anything. But all that greets him is the soft sound of someone singing and a curving staircase. The lights of the room below dimly light the staircase.

NICK  
Go get the paramedics, Greg.

GREG  
You think they're down there?

NICK  
Yes. Go.

Greg runs off to obey. Nick starts down the steps.

INT. UNDERGROUND PRISON - DINING ROOM - DAY

The stairs open into a richly decorated dining room. Along the walls are cages, terrariums, and aquariums with exotic pets, including a collection of spiders. The singing is coming from a bird that is imitating someone it's heard.

At the far end is a metal door with a sliding plate in the middle of it, like one found on a solitary cell in a prison. Next to the door is the key. Nick approaches the door, sliding on gloves. He takes down the key, unlocks the door, and pulls it open.

Nick makes a face as the stench of sickness and decay hits him. The room beyond is dark, but from the light of the dining room he can see cells and arms, legs, and one woman's face staring blankly at him. He spots the light switch next to the door and flicks it.

He has to swallow hard to keep his cool. Six women are in the cages at varying levels of starvation. They are dressed in dirty cotton gowns. Two lay lifelessly, showing no emotion. The others watch him with wide, terrified eyes. Including the teenager Jonathan signed the autograph for at the casino.

CATHERINE (O.S.)  
Nick.

Nick takes a step into the prison. A hand grabs his shoulder and pulls him back. He turns his head, staring at Catherine.

CATHERINE  
We can't go in without suits, Nick. They're likely  
infected with scabies.

He looks at the women but doesn't resist her guiding him out of the way.

INT. CSI - INTERVIEW ROOM A - NIGHT

Jonathan and his lawyer, Lehman, sit at the table. Catherine and Brass enter. Catherine carries a large folder with the aerial photographs.

LEHMAN  
We've been in here for eight hours and no  
official charges have been filed. If you don't  
charge my client, then you will release him.

BRASS  
He's being charged for murder in the first  
degree, kidnapping, torture, assault, rape, and  
sexual abuse. Texas is planning to press the  
same charges when we get done. And South  
Carolina and Kentucky are adding cruelty to  
animals to the list, as well as keeping exotic  
pets without permits. I guess they thought  
since the book was being thrown, why not add  
a few chapters.

That takes some wind out of Lehman. He looks at Jonathan, but the man is a good actor, and he shows no emotion.

Catherine takes out an aerial of the South Carolina property, setting it before Jonathan. He glances at it, but doesn't react.

CATHERINE  
Mister Massie, I'd like to talk to you about this  
property.

He glances at it.

JONATHAN  
I don't know where that is.

CATHERINE  
This is 452 Rosehip Lane, in Rolling Hills,  
South Carolina. At present local law  
enforcement have uncovered fourteen graves  
on the property, each containing a dog that  
appears to have been starved to death. Do you  
care to explain that?

JONATHAN  
I know nothing about them.

CATHERINE  
I doubt that. In June of 1994 you sold your  
property in South Carolina and purchased this  
property.

Another photograph is placed in front of Jonathan. Still no reaction or emotion.

CATHERINE  
This is 4325 County Road 57, near Lexington,  
Kentucky. Twelve graves have been found with  
the remains of chimpanzees. Forensics in  
Kentucky has been able to determine that all  
the chimpanzees died of starvation.

Lehman opens his mouth to comment, but she cuts him off.

CATHERINE  
And before you argue that the chimpanzees  
could be anyone's, Mister Lehman, several of  
them had microchips tags. All of them were  
purchased by your client.

Lehman doesn't speak. Catherine places the aerial of the Texas ranch, then another two next to it.

CATHERINE  
In 1998 you sold your Kentucky property, and  
purchased 12453 County Road 56, Paris,  
Texas. These photographs show the three  
locations graves have been found. There were  
a few with chimpanzees, but the rest contained  
human remains, all female, all starved to  
death. Also found on the property was a prison  
similar to the one found at the vineyard.

Catherine points to the photograph of the location. It's not far from the back of the main house.

CATHERINE  
The staircase had been filled in. Five bodies  
were recovered from this. We have been able  
to match DNA from most of the victims to  
persons missing from Texas and surrounding  
states.

LEHMAN  
My client did not murder any of these women  
or animals. These charges are false.

Undeterred, Catherine continues.

CATHERINE  
But then the pattern alters just slightly. You  
sold the ranch in Texas, purchasing a farm  
near Missoula, Montana. There were no graves  
of dogs, chimpanzees or humans. And you  
kept it for four months before you moved to the  
vineyard in Moapa Valley. And then you started  
leaving the bodies for people to find. Showing  
off your skills, perhaps?

Nick enters the room and leans against the one-way mirror. Jonathan shows his first emotions when he glares at Nick, but Nick himself is too angry to be intimidated by a look.

CATHERINE  
What I find interesting is that during your time  
in Missoula you had your first run in with the  
legal system. A consultant for the police  
department filed stalking charges and a  
restraining order. And you left Missoula the  
same time she did. When she settled in Las  
Vegas, so did you. Why is that? Why did you  
change your pattern?

LEHMAN  
Is this about murder and kidnapping charges,  
or a past stalking charge?

CATHERINE  
All three. From your bedroom closet we  
recovered a dozen silk dresses and boxes of  
pearl necklaces. The cloth from the dresses  
matches the dresses the starved victims were  
found in. The pearls on the necklaces are  
identical in composition and mineral traits as  
those found on the victims. We asked your  
girlfriend about them, she said you told her  
they were gifts for special fans. What special fans?

JONATHAN  
(to Nick)  
How many women were found dead?

CATHERINE  
Six.

JONATHAN  
(to Nick)  
Six women? I didn't do this.

CATHERINE  
Why? Because the numbers aren't adding up?

Nick leans on the table, looking Jonathan in the eyes.

NICK  
Didn't you hear, Jonathan? Natalie Greer  
survived. She intentionally made your spider  
bite her so it would paralyze her. She took a  
chance you'd dump her where she'd be found.  
See, the problem every serial killer that's  
caught runs into, is they let their pride cloud  
their judgment, and they leave behind evidence  
or a survivor that ultimately leads us right to them.

JONATHAN  
She's not alive.

LEHMAN  
Jonathan, shut up!

NICK  
He can't shut up. He doesn't want to believe he  
actually made a mistake, not after at least fifteen  
years of starving women to the brink of death,  
and then giving them the best meal in their  
lives, just so he could watch them die in agony.

Jonathan doesn't answer. Nick shrugs.

NICK  
Doesn't matter. The survivors have identified  
you as their kidnapper and five of the deceased  
that were held captive with them. But why were  
you so determined to get Natalie? The lengths  
you went to in order to get your hands on her...  
It exposed you. Put your hobby in the open.  
Did you leave those bodies for her? What  
made her so special?

Jonathan looks at his hands, some memory or fantasy taking him away from this place. Nick shakes his head, then walks to the door.

JONATHAN  
(dreamy)  
She has the most beautiful eyes I've ever seen.  
Her voice is like smooth chocolate.

Nick turns at the door. Catherine looks up. It's their first glimpse of the psychopath hidden beneath the kind words and beautiful smile that lured women to their death.

LEHMAN  
Stop talking, Jonathan. If you keep talking, I  
can't help you.

His client obeys, clamping his mouth shut.

NICK  
I don't know that you can help him, Mister  
Lehman. I'm afraid Jonathan Massie won't be  
viewed as America's sweetheart for much longer.

Catherine gets up and gathers her folder. She looks into Jonathan's eyes and does something very rare for her.

CATHERINE  
The problem you had with Natalie was you  
underestimated her, Jonathan. Even when  
hunger, malnutrition, and abuse had made her  
forget things, her instincts as a detective  
couldn't be erased. You chose poorly.

Catherine taps the folder on the table once, and then leaves with Nick.

INT. CSI BUILDING - CORRIDOR - NIGHT

They walk silently for a few minutes, Nick glancing at Catherine.

CATHERINE  
That last comment he made makes me think  
we may be able to build an even stronger case  
if we get a forensic psychologist to evaluate him.

NICK  
I can't believe you just did that, Catherine.

CATHERINE  
Did what?

NICK  
You just taunted a suspect.

CATHERINE  
That wasn't taunting. I just felt he needed to  
know he was out of his league with Natalie.  
She was way too smart for him.

Nick grins.

NICK  
Call it whatever you want, Catherine, you were  
taunting him.

Catherine doesn't reply, just smiles.

NICK (CONT'D)  
Maybe, when she's better, we could invite  
Natalie to consult for us.

Catherine looks surprised.

NICK (CONT'D)  
Every good lab needs a good forensic  
entomologist. And she's helped police before  
so she's familiar with procedures.

CATHERINE  
You think she's cool, don't you?

NICK  
Heck yeah! Do you know many female entomologists?

CATHERINE  
I'll take it under consideration, Nicky. I'm going  
to go finish up paperwork for the D.A. Go tell  
Joseph that Natalie would like to see her  
family now.

The words Nick has been waiting to hear.

NICK  
See ya back here tomorrow. Same crime time!

The two turn down separate halls.

CATHERINE  
Same crime channel.

FADE OUT.

THE END


End file.
